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Abel Grimmer (family name variations: 'Grimer' and 'Grimmaert') (c. 1570–c. 1620) was a Flemish late Renaissance painter, mainly of landscapes and, to a lesser extent, of architectural paintings. His works were important in the development towards more naturalism in Flemish landscape painting. |
Life |
Grimmer was born and died in Antwerp. He learned to paint from his father, the landscape painter Jacob Grimmer. His father Jacob Grimmer had established a name for himself by imitating the work of Pieter Bruegel the Elder on small panel pictures and selling these on the market at low prices. |
Abel Grimmer married Catharina Lescornet on 29 September 1591 and became a master of the Antwerp Guild of Saint Luke in 1592. He took over his father's workshop. He worked his whole career in Antwerp. The date of his death is not known exactly and is placed after 1620. |
Work |
He often signed and dated his panels. His earliest dated work dates from 1586 and his latest dated work reads "162", so it is dated 1620 or later. He is principally known for his paintings in small format of country scenes, sometimes with a biblical theme. The works were at times in the form of roundels (i.e. in a roun... |
Abel Grimmer's work is characterised by the simplification and systemisation of figures and landscapes. His landscapes show splendid colour harmonies and a certain linearity, through their slightly schematized compositions and their tendency to represent buildings as geometric shapes. His work has been dismissed becaus... |
A favourite theme of Abel Grimmer was the Tower of Babel of which he produced several versions, clearly inspired by Pieter Bruegel the Elder's treatment of the same subject. The subject is taken from the Book of Genesis 11:1-9. This narrates the story of the decision to build a city and a tower reaching into the heave... |
Abel Grimmer also produced architectural paintings including church interiors such as the Interior of a Gothic Church with a Franciscan Monk Preaching (sold at Sotheby's in London on 9 March 1983). His interest in perspective and the use of a golden light anticipate the work of the Dutch painter of church interiors Pi... |
References |
External links |
Media related to Abel Grimmer at Wikimedia Commons |
Abraham Bloemaert (25 December 1566 – 27 January 1651) was a Dutch painter and printmaker who used etching and engraving. He initially worked in the style of the "Haarlem Mannerists", but by the beginning of the 17th-century altered his style in line with the new Baroque style that was then developing. He mostly painte... |
Life |
Bloemaert was born in Gorinchem, Habsburg Netherlands, the son of the architect Cornelis Bloemaert I, who moved his family to Utrecht in 1575, where Abraham was first a pupil of Gerrit Splinter (pupil of Frans Floris) and of Joos de Beer. From the age of 15 or 16, he spent three years in Paris (1581–1583), studying for... |
When his father was appointed city architect (Stads-bouwmeester) in Amsterdam in 1591 Bloemaert accompanied him there. On his father's death in 1593 he returned to Utrecht, where he set up a workshop and in 1594 became dean ("deken") of the "zadelaarsgilde". (As of 1367 painters were included in the saddlemakers' guild... |
According to the Encyclopædia Britannica Eleventh Edition, "[Bloemaert] excelled more as a colourist than as a draughtsman, was extremely productive, and painted and etched historical and allegorical pictures, landscapes, still-life, animal pictures and flower pieces". In the first decade of the 17th-century, Bloemaert... |
Among his many pupils were his four sons, Hendrick, Frederick, Cornelis, and Adriaan (all of whom achieved considerable reputations as painters or engravers). The Netherlands Institute for Art History (RKD) also lists as his pupils: Jan Aerntsz de Hel, Abraham Jacobsz van Almeloveen, Cornelius de Beer, Nicolaes van Ber... |
Public collections |
Bloemaert is represented in numerous art collections including: the Detroit Institute of Arts, Michigan; Fine Arts Museums of San Francisco; Hermitage Museum, Saint Petersburg; Indianapolis Museum of Art, Indiana; J. Paul Getty Museum, Los Angeles; Mauritshuis Royal Picture Gallery, The Hague; Metropolitan Museum of Ar... |
Gallery |
Abraham Bloemaert |
Rediscoveries |
Lot and his daughters (120 x 220 cm), oil on canvas (rediscovered in 2006 by Prof. Alain Béjard & Dimitri Joannidès, Alicem institute, Luxemburg) |
External links |
Media related to Abraham Bloemaert at Wikimedia Commons |
Exhibition The Bloemaert Effect in Utrecht, Centraal Museum, 2011-12 |
Works and literature on Abraham Bloemaert |
Not two, but three scenes from the Historiae Aethiopicae by Abraham Bloemaert |
Abraham Bloemaert on Artcyclopedia |
Vermeer and The Delft School, an exhibition catalogue from The Metropolitan Museum of Art (fully available online as PDF), which includes material on Abraham Bloemaert |
Dutch and Flemish paintings from the Hermitage, an exhibition catalogue from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Bloemaert (cat. no. 2) |
== References == |
Abraham Govaerts (1589 – 9 September 1626) was a Flemish painter who specialized in small cabinet-sized forest landscapes in the manner of Jan Brueghel the Elder and Gillis van Coninxloo. He was a regular collaborator with other artists who were specialists in specific genres. Govaerts would paint the landscape while ... |
Life |
He was born in Antwerp where his father was an art dealer. There is no information on his training. In view of the influence on his early oeuvre of Jan Brueghel the Elder, some believe he may have apprenticed in the latter's workshop but there is no evidence for this. He became a master in Antwerp's Guild of Saint Lu... |
He married Isabella Gielis, with whom he had two daughters named Isabella and Suzanna. He was active throughout his career in Antwerp. He became deacon of the local Guild of Saint Luke in 1623. |
He trained several artists including Alexander Keirincx, Nicolaes Aertsens and Gysbrecht van der Berch. |
He was one of the many people who died during an epidemic in Antwerp. He died on 9 September 1626 and his wife followed him in death a few days later on 13 September 1626. After his premature death, his unfinished works were completed by a number of artists including Alexander Keirincx, Jasper van der Lanen, Jasper Ad... |
Work |
Govaerts was a landscape specialist, and was known for his wooded landscapes which included a diminutive history, mythological or biblical subject or a hunting scene. His landscapes initially followed the Mannerist style of the three-colour world landscape in which the figures are bracketed by repoussoir trees. His pa... |
Another major influence was the landscape painter Gillis van Coninxloo. A painting entitled Landscape with River Vale and Falcon Hunt (Museum Mayer van den Bergh, Antwerp) is inspired by the work of Joos de Momper. |
From 1620 onwards the Mannerist aspect of his palette was replaced by pure and brilliant colours applied in light stippling. He juxtaposed various colours to achieve gradual shading and gentle transitions. This style was more reminiscent of the work of Jan Breughel the Elder. He strived for a dynamic effect in his wo... |
As was common at the time, Govaerts often collaborated with other artists who were specialists in specific genres. Govaerts would take care of the landscape while these specialists painted the figures, animals or still life elements. He collaborated often with members of the Francken family such as Frans Francken the ... |
References |
External links |
Media related to Abraham Govaerts at Wikimedia Commons |
Abraham Willaerts (c. 1603 - 18 October 1669) was a Dutch Baroque painter, mostly of marine and harbor scenes. He also painted a number of single and family portraits. |
Life |
Abraham Willaerts was born in Utrecht, the son of the painter Adam Willaerts. He trained with his father, a marine painter. He later studied with the Utrecht Caravaggist Jan van Bijlert in Utrecht. He became a member of the Utrecht Guild of Saint Luke in 1624. He travelled to Paris in 1628 where he worked in the work... |
On 1637 or 1638 Willaerts sailed to Brazil serving in the entourage of Count John Maurice of Nassau-Siegen, the governor of the Dutch possessions in Brazil. In 1641 the Count sent him with the Dutch fleet from Brazil to Angola (where the Dutch had just taken São Paulo de Loanda and the island of Tomé) on a mission to o... |
He had returned to the Netherlands in 1644, where he stayed with the prominent architect and painter Jacob van Campen at his castle Randenbroeck near Amersfoort. |
In 1659–60 he visited Rome. Here he joined the Bentvueghels, an association of mainly Dutch and Flemish artists working in Rome. It was customary for the Bentvueghels to adopt an appealing nickname, the so-called 'bent name'. Abraham Willaerts was reportedly given the bent name 'Indian'. This nickname was likely give... |
He died in Utrecht. His brother Isaac was also a marine painter. |
Work |
Although mainly a marine painter, Willaerts also painted portraits. |
His marine paintings closely follow those of his father as is seen in his Ships near a rocky shore (1647, Frans Hals Museum, Haarlem). He preferred compositions with an atmospheric softness. In addition to Dutch harbour and coastal scenes, he also painted Mediterranean harbour views (real and imaginary), such as the H... |
Willaerts painted a series of portraits, both of single figures (several were admirals) and family groups. He also added portraits in the foreground of some of his father's harbour scenes. |
Willaerts also collaborated with the still life painter Willem Ormea on a Fish still life with stormy sea which combines a seascape with a still life of fish in the foreground. |
Notes |
External links |
Media related to Abraham Willaerts at Wikimedia Commons |
Adriaen Isenbrandt or Adriaen Ysenbrandt (between 1480 and 1490 – July 1551) was a painter in Bruges, in the final years of Early Netherlandish painting, and the first of the Dutch and Flemish Renaissance painting of the Northern Renaissance. Documentary evidence suggests he was a significant and successful artist of ... |
He was believed by Georges Hulin de Loo to be the same person as the anonymous Master of the Seven Sorrows of the Virgin or Pseudo-Mostaert. Other art historians doubt that any works can be reliably attributed to him, and the number of paintings attributed to him by major museums has been in decline for many decades. |
Personal life |
There are only a few documentary records of his life, and some mentions in literature from the artist's lifetime or soon after. Even so, there are no documents which link him as the creator of any surviving works. It is possible that he was born in Haarlem or Antwerp around 1490. It is not known where or with which pa... |
He is named for the first time in 1510, when he came to Bruges and bought his burghership. In November of the same year he became master in the local painters' Guild of St. Luke and the goldsmiths' guild of St. Elooi. He was later elected nine times as a "deacon" (in Old Dutch : vinder) and twice as the governor (in Ol... |
He quickly established an important workshop, probably in the Korte Vlaminckstraat in Bruges. This was close to the workshop of Gerard David, at the Vlamijncbrugghe and the former workshop of Hans Memling. Bruges, at that time, was one of the richest towns in Europe. Rich traders and merchants ordered diptychs and port... |
He married twice, the first time with Maria Grandeel, daughter of the painter Peter Grandeel. They had one child. After her death in 1537, he married again with Clementine de Haerne with whom he was married by 1543. This second marriage resulted in two daughters and a son. He also had an extramarital daughter with the ... |
When he died, at Bruges, in 1551, he was buried alongside his first wife at the cemetery of the St. Jacob church there; his children inherited no less than four houses with surrounding property. |
Professional life |
Along with Albert Cornelis (before 1513–1531) and Ambrosius Benson (before 1518–1550), a painter from Lombardy, he worked in the workshop of Bruges' leading painter Gerard David, while he was already a master at that time. Isenbrandt is mentioned in the book De Gandavensibus et Brugensibus eruditionis laude claris libr... |
In his critical exhibition catalogue of Early Flemish Masters in Bruges in 1902, the Ghent great connoisseur of early Flemish Art and art historian Georges Hulin de Loo, came to the conclusion that Isenbrandt was actually the anonymous Master of the Seven Sorrows of the Virgin and the author of a large body of painting... |
No surviving painting can be firmly documented as by Isenbrandt. A document stating that he sent some paintings from Antwerp to Spain shows that worked for export as well as the local market, and suggests his international reputation. Two paintings usually associated with him are dated, both in 1518 : |
Portrait of Paulus de Nigro (Groeninge Museum, Bruges) (1518) |
The Bröhmse triptych with the Adoration by the Magi. This was his most monumental work, but it was destroyed in 1942 when the Marienkirche in Lübeck was bombed. For Max J. Friedländer, this was the key work to be used in establishing his style. |
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